笔记

COURSE OUTLINE -- SESSIONS LIST

Each class will be made up of the same basic two elements:

1. Group critique of a screened film(s)/Lecture/Instruction;

2. Group critique of student work;

The lecture topics:

-- The nature of short (vs. long) script;

-- Tradition story structure;

-- Documentary structure;

-- Alternative story structure/formats;

-- Script formatting;

-- Identifiability, exposition, dialogue;

 

CREATIVE WRITING PROCESS:

1> A STORY STATEMENT

Take your story idea and write it out in two or three sentences which provide:

-- a clear sense of your central character;

-- the conflict;

-- the resolution;

You may first wish to write several pages in defining the story. Then reduce your several pages to a few paragraphs. Then reduce your few paragraphs to two or three sentences at the most. Say it out loud. Read it out loud. Polish it unitl you are perfectly clear about these core elements of your story.

2> THE TREATMENT

In prose form, lay out your story scene by scene. Begin each scene with a proper slug line (scene heading), just as you will your final screenplay. Then briefly describe only what we will see happenning and hear spoken in the scene. No detail or dialogue is necessary. It should be clear from what you have written what justifies each scene -- a plot point, character introduction, etc.

You should be able to complete your treatment in two or three pages at the most.

 

CANADIAN FILM

COURSE OUTLINE

1. Individual Assignment

Your individual assignment must be a two-paged (minimum essay) and include the following:

-- a) a brief bio of the writer/director, if possible highlight...

COURSE OUTLINE

Week 1

-- Script Breakdown

* Assignment: Breakdown a short screen play

[Creative ideas # Execute]

Week 2

-- Scheduling, Day out of Days, One Liner, Call sheets

* Assignment: Schedule a short screenplay

[Set up Priority --> Most important thing]

Week 3

-- The Shoot

* Debrief assignment

[Strict order of unfolded event]

Week 5

-- Post Production and Marketing

[Make film for people to see & to communicate]

[Never assume: everything --> variation]

Recommended Text:

-- The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, by Steven Ascher, Edward Pincus, Carol Keller, Robert Brun, Ted Spagna, Stephen McCarthy Penguin, 1999

-- Film Production Management 101: The Ultimate Guide for Film and Television Production Management and Coordination, by Deborah Spatz, Michael Weise Productions, 2002

-- Producer's Workbook 3, Women in Film, WIFVV & Reel West, 2002

-- Directing: Film Techniques and Aesthetics, by Michael Rabiger, Focal Press, 1996